While adhering to the look and style of the genre, the band’s ambitious sound included symphonic, goth and synth elements. This was fully realised on the outfit’s first two records – Cruelty and the Beast and Dusk and Her Embrace – both of which are rightfully lauded as landmark metal releases.
Truth be told, Cradle of Filth’s sound has more in common with traditional heavy metal from the 80s, as the influences of Iron Maiden and Judas Priest loom large. And so is the case here on album no 14, The Screaming of the Valkyries, released last month (March 21).
The guitar solos are bear the hallmarks of 80s greats as each melodious hook is executed with precision as well as brilliance. The female vocals which are very much part of the Cradle sound is beautifully delivered by Zoe Marie Federoff, who is also the band’s new keyboard player. She also happens to be the spouse of new guitarist Donny Burbage.
It is all systems go as The Trinity of Shadows and Malignant Perfection continue to assault ear drums with finely crafted metal. These are songs designed for festival mosh pits, not some dank underground club. It is symphonic metal of the grandest scale equalling the likes of Dimmu Borgir for scope and ambition, and it should be no surprise as the band has spent decades honing its sound.
This may be the closest the band has come to emulating the incredible tower of sound heard on its first two albums. And, that is saying something.
The Screaming of the Valkyeries is big, bombastic and ultimately, great fun.
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